"A WOMAN SCORNED"

 

                                by

 

                         Charles Deemer

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

                                          3550 SW Pomona St.

                                          Portland, OR 97219-7518

                                          charles@charlesdeemer.com

                                          1-503-452-8277


 

 

 

 

 

FADE IN:

 

INT. HIGH SCHOOL AUDITORIUM - STAGE - NIGHT

 

A scene from the play "Medea" by Euripedes.

 

TRISHA, playing the lead, is a pretty, blonde high school

senior wearing exaggerated makeup and a stylized "mad"

hairdo for her part.

 

The actors are near play's end, when Medea is wild and crazy

after the murder of her children.  Trisha plays the role

with passion and talent.

 

                         TRISHA

             No, it was not to be for you to

             scorn my love and live happily

             ever after, laughing at me.

 

Medea is on stage with Jason and The Chorus.

 

                         TRISHA

             You have no right to call me a

             monster.

 

Jason is played by JOHN, a tall handsome senior.

 

                         JOHN

             If you are not, then feel the

             same sorrow as I.

 

                         TRISHA

             I will embrace sorrow when you

             cannot mock it.

 

                         JOHN

             O my children, what a wicked

             mother she has been!

 

                         TRISHA

             No!  My children died from a

             disease they caught from their

             father!

 

INT. AUDITORIUM - NIGHT

 

The audience, composed largely of parents, teachers and

other students, watches spell-bound by the performance on

stage.


                                                            2.

 

 

INT. STAGE - NIGHT

 

                         CHORUS

             O your heart is made of rock if

             you can kill the fruit of your

             womb with your own hands!

 

INT. AUDITORIUM - NIGHT

 

CONNIE, 40ish, and HEATHER, 15, are as wrapped up in the

action as the rest of the audience.  Heather wears dark

glasses and has a blind person's cane.

 

At the back of the auditorium GREG, 40ish, the director of

the play, watches on happily.  He is fit and handsome and a

well-liked drama teacher at Wilson High School in Portland,

Oregon.

 

Greg dresses flamboyantly in a style reminiscent of the

sixties, in jeans and a bright tie-dye shirt.  He is clearly

delighted with the performance of his students.

 

INT. THE STAGE - NIGHT

 

                         JOHN

             How I loved my children!

 

                         TRISHA

             No, I loved them more than you.

 

                         JOHN

             You killed them!

 

                         TRISHA

             Only to make you feel pain!

 

                         CHORUS

             And so the gods achieve many

             things that we do not understand.

 

The LIGHTS COME DOWN on stage as APPLAUSE rises spontaneously

from the audience.

 

INT. AUDITORIUM - NIGHT

 

The APPLAUSE continues as parents and teachers and students

rise to their feet to give the cast a standing ovation.

 

Connie whispers something to Heather and then both get to

their feet to join in the standing ovation.


                                                            3.

 

 

INT. STAGE - NIGHT

 

The cast, beaming and ecstatic at their success, move

forward in a choreographed curtain call.

 

Trisha and John, hand in hand, move forward to the stage's

edge together and take their bows as leads.

 

INT. DRESSING ROOM - NIGHT

 

Greg and his cast are accepting the congratulations of

parents, students and other well-wishers who crowd into the

hallway outside the dressing room.

 

With Greg is his girlfriend, CHRISTY, 30ish, a wealthy

heiress. She is over-dressed for a high school play.

 

                         CHRISTY

             I'll see you at home.

 

                         GREG

             Aren't you coming to the party?

 

                         CHRISTY

             This is your night.  Party as

             late as you want.

 

She kisses him on the cheek and moves off, as Trisha's

parents come forward to shake Greg's hand.

 

MR. AND MRS. MORRIS are conservative business types, he in

banking and she in real estate, who hope their daughter

doesn't get the theater bug so badly she decides to make a

career of it.

 

                         MR. MORRIS

             Well done, well done.

 

                         GREG

             Thank you.  We couldn't have done

             it without Trish.

 

He finds Trisha in the crowd.

 

                         GREG

             Trish!  Trisha!

 

Trisha comes out of the crowd, half her theatrical makeup

off, part of her costume off, and almost ignoring her

parents she rushes forward to give Greg an embrace.

 

                         GREG

             You were really great tonight.


                                                            4.

 

 

He turns to the parents.

 

                         GREG

             Wasn't she spectacular?

 

                         MRS. MORRIS

             It's such a mature role.

 

Greg breaks the embrace.

 

                         GREG

             I'll tell you, she can go as far

             as she wants.

 

This isn't what the parents want to hear or have encouraged.

Greg's good friend and fellow teacher, RAYMOND, 30ish, comes

by.

 

                         RAYMOND

             Good work as always, buddy.

             Great job, Trisha.

 

                         TRISHA

             Thank you.

 

                         GREG

             Coming to the party?

 

                         RAYMOND

             Wouldn't miss it.

 

He moves off.

 

                         MR. MORRIS

             Trisha, we have dinner

             reservations.  How long will it

             take you to change?

 

                         TRISHA

             Can I meet you there?

 

Mr. Morris looks at his watch.

 

                         MR. MORRIS

             Well, I suppose so, if you don't

             keep us waiting - I told you the

             recruiter from Penn is in town.

             I've arranged for him to join us.

 

He turns to Greg.

 

                         MR. MORRIS

             One of the best marketing

             curricula in the country.


                                                            5.

 

 

                         TRISHA

             I'll meet you there in an hour.

 

She makes a move toward Greg.

 

                         TRISHA

             Tell people at the party I'll be

             late.

 

She gives the teacher a quick hug and disappears back into

the crowd.

 

                         MRS. MORRIS

             This is important, dear!

 

                         GREG

             They get a little crazy on

             closing night.

 

INT. DRESSING AREA - NIGHT

 

Connie and Heather come through the crowd, Heather feeling

her way ahead with the cane.

 

(As we shall learn, she is not really blind but posing as

Greg's former blind step-daughter, Annie, as part of an

elaborate set-up and frame job.)

 

INT. DRESSING ROOM - NIGHT

 

Greg is shaking hands a final time with the Morris' when he

sees Connie and Heather as they approach.  He is visibly

startled to find them here.

 

                         GREG

             Excuse me.

 

He moves toward the approaching pair.

 

                         CONNIE

             Greg?

 

                         GREG

             Connie?  I don't believe this.

 

                         HEATHER

             Is it Greg?

 

Greg turns to Heather, whom he mistakes for his former step-

daughter.

 

                         GREG

             Annie?


                                                            6.

 

 

                         HEATHER

             It is you!

 

Heather steps forward, arms reaching outward for the approach

she cannot see, and Greg moves into her arms.

 

                         GREG

             Annie, my God!  This is incredible.

 

They embrace a long moment.  Greg is clearly moved that

"Annie" is there.

 

                         CONNIE

             We loved the play.  Didn't we,

             Annie?

 

                         HEATHER

             I read it before.

 

                         GREG

             I didn't even know you were in

             town.

 

                         CONNIE

             Well, if you wrote now and then...

 

                         GREG

             Annie, you're so - grown.  I

             wouldn't have recognized you.

 

                         CONNIE

             She's fifteen.

 

                         HEATHER

             Almost sixteen.

 

                         GREG

             You'll have to excuse me, I'm

             just speechless.

 

                         CONNIE

             Well, it's been what, eight years?

 

                         GREG

             I wish you'd've called.  I mean,

             closing night, it's a zoo around

             here.

 

                         CONNIE

             How about lunch tomorrow?

 

                         GREG

             Tomorrow?


                                                            7.

 

 

                         CONNIE

             Unless you're too busy.

 

                         GREG

             Well, yeah, I can fit that in.

             Late, say two?

 

                         CONNIE

             Where do you recommend?

 

                         GREG

             Let me think.

 

                         CONNIE

             You are rattled, aren't you?

             I'll think of someplace and leave

             a message on your machine.  You

             do have a machine?

 

                         GREG

             Well, sure, that'll work.  Let me

             give you the number.

 

As he writes it down, JAY, 50ish, the high school principal,

comes forward to congratulate Greg.

 

                         JAY

             Greg, my boy, you've done it again!

 

Greg passes over his phone number.  Connie takes Heather's

hand, and they start to move away.

 

                         JAY

             How you get that quality of

             performances out of these kids is

             beyond me - but, yessiree, you've

             done the magic number one more

             time!

 

Greg calls after Connie.

 

                         GREG

             Leave a message on my machine!

 

INT. BACKSTAGE AREA - HALLWAY - NIGHT

 

Greg is closing up the theater building.  He walks down a

hallway to the door to the men's dressing room, opens it and

sticks his head in.

 

                         GREG

             Anybody home?

 

No one answers.  Greg reaches inside and turns out the light.


                                                            8.

 

 

He continues down the hallway to the women's dressing room,

opens it, sticks his head in and looks around.

 

A SHOWER is running and the room is full of STEAM.

 

INT. WOMEN'S DRESSING ROOM - NIGHT

 

Greg steps inside.

 

                         GREG

             Hello!  Time to close up in here!

 

The shower stops.

 

                         GREG

             Hello?  Who's in here, please?

 

                         TRISHA (O.C.)

             I'll just be a minute!

 

                         GREG

             Trish, is that you?

 

There is no response.

 

                         GREG

             Trish, I've got to close up.  And

             you're late, your parents are

             waiting for you.

 

He looks toward the shower area, which is still filled with

steam.  Out of the steam comes Trisha now, naked.  She

slowly walks toward Greg.

 

                         GREG

             Trish, you'd better get dressed.

             You're late.

 

She continues her approach.

 

                         GREG

             I'll wait outside.

 

As he turns to go, Trisha rushes to him and embraces him

from behind, naked and still wet.

 

Greg turns, trying to get free, and when they are face to

face, Trisha plants a passionate kiss on his lips.

 

It takes some effort for him to break free.  Then they are

face to face again.

 

                         GREG

             Trisha, Jesus . . .


                                                            9.

 

 

                         TRISHA

             I love you.

 

She tries to embrace him again but Greg pulls away.

 

                         GREG

             I'll be in my office.  We need to

             talk.

 

He hurries out of there.

 

INT. THE HALLWAY - NIGHT

 

Greg emerges from the dressing room.  He clearly is upset

about what happened with Trisha in the shower.

 

INT. HIGH SCHOOL - GREG'S OFFICE - NIGHT

 

Trisha is seated at Greg's desk, bent forward with her head

on her arms, weeping.  She's wearing jeans and a sweatshirt.

 

A black party dress,   fresh from the cleaners, is draped

over the desk.

 

Greg is nervously pacing back and forth.

 

                         GREG

             It's not what you think, Trisha.

             Come on now.

 

                         TRISHA

             You don't love me.

 

                         GREG

             I do love you.  But there's love

             and there's love.

 

                         TRISHA

             You don't.

 

                         GREG

             Remember when we studied Greek

             culture for the play?  How they

             had three words for love?

             Fidelia, eros and agape?  Well,

             we are in the fidelia category.

             We can love one another as friends.

 

As he speaks, Trisha cries even harder.  Greg is beside

himself, not knowing how to handle her.


                                                           10.

 

 

                         GREG

             And agape, too, okay?  Spiritual

             love.  Because I do have a very

             special feeling for you, Trisha.

             Honestly I do.

 

Trisha moves up off the desk and looks at him.  Without

makeup, her face streaked with tears, she looks even younger

than she is.

 

                         GREG

             You're very special to me.

 

                         TRISHA

             But I love you.

 

                         GREG

             I accept that - as fidelia, as

             agape.  I love you, too.

 

She gets up and moves into his arms.  They embrace.  Greg at

first holds back but finally is hugging her in return.

 

Then he breaks the embrace.

 

                         GREG

             Get dressed, your parents are

             expecting you.

 

Trisha tries to smile, and Greg touches her cheek.

 

                         GREG

             That's better.  You are special

             to me, Trish.

 

INT. PARTY HOUSE - LIVING ROOM - NIGHT

 

Loud music blasts from a phonograph.  Students are drinking

pop and dancing.

 

INT. THE KITCHEN - NIGHT

 

Greg is sipping a beer and watching the dancing in the

living room through the open door.  Then he sees Trisha enter.

 

INT. THE LIVING ROOM

 

Trisha looks beautiful now, dressed in a black party dress

which perfectly accentuates her blonde hair and blue eyes.

 

INT. THE KITCHEN

 

Raymond taps Greg on the shoulder.


                                                           11.

 

 

                         RAYMOND

             Get you a beer?

 

                         GREG

             I'm out of here.

 

                         RAYMOND

             Already?

 

Greg raises his empty beer bottle to the cast members in the

kitchen.

 

                         GREG

             To a job well done!

 

Spontaneous CHEERING breaks out.

 

Greg maveuvers to go out the back door.  He disappears just

as Trisha enters the kitchen.

 

Trisha watches Greg go.  She looks hurt.

 

John moves up beside Trisha and clearly has a crush on her.

 

                         JOHN

             Hi, Trish.  I was hoping you'd

             finally get here.

 

But Trisha looks lost in thought, staring at the spot where

Greg disappeared.

 

EXT. THE BLUE DOLPHIN RESTAURANT - DAY

 

The small French restaurant is in the hills outside Portland,

overlooking the Willamette River.

 

INT. RESTAURANT - DINING AREA - DAY

 

Greg and Connie are seated in a table by the window

overlooking the river.

 

A WAITER is pouring wine.  When he finishes, he puts the

bottle in an ice bucket by the table and leaves.

 

Connie raises her glass.

 

                         CONNIE

             To what?

 

                         GREG

             Surprises.

 

                         CONNIE

             Reunions.


                                                           12.

 

 

They touch glasses and sip.

 

                         GREG

             I'm sorry Annie couldn't come.

 

                         CONNIE

             She wants to spend more time with

             you, too.

 

                         GREG

             She's so grown.

 

                         CONNIE

             They do that.

 

                         GREG

             Almost sixteen, huh?  Amazing.

 

                         CONNIE

             Greg, if you want to spend more

             time with her, you can.  She

             feels closer to you than to her

             real father.  Or to Roger, for

             that matter.

 

                         GREG

             I've missed her, actually.

 

                         CONNIE

             Listen, Roger has a friend with a

             beach house.  We'd like to get

             away to San Francisco for a day.

             His friend would fly us.

 

                         GREG

             Sounds like you're mixing with

             the right people.

 

                         CONNIE

             I'll ignore that.  How would you

             like to babysit?  Just for a

             night. Roger's in the middle of

             some kind of business thing, he

             can't get away for longer than

             that.  But you know how I love

             San Francisco.

 

                         GREG

             I remember.

 

                         CONNIE

             You'll love the beach house.

             It'll give you and Ann time to

             get re-acquainted.


                                                           13.

 

 

                         GREG

             Well, sure, I'd like that.

 

EXT. THE OREGON COAST - DAY

 

Greg's VW bus is driving along the Oregon coast highway. The

view beyond the highway is spectacular, with magestic rocks

jutting up out of the ocean under a clear blue sky.

 

INT. GREG'S VAN - DAY

 

Early Bob Dylan is playing on his car stereo and Greg

listens thoughtfully.  He takes a deep breath.  His face

reflects a certain nervousness.

 

EXT. OREGON COAST - BEACH HOUSE - DAY

 

Greg pulls into the driveway of a modern beach house

overlooking a spectacular view of the Pacific Ocean, isolated

and without close neighbors.

 

Greg gets out and climbs the steps to the front door.

 

EXT. BEACH HOUSE - PORCH - DAY

 

Greg knocks, then knocks again.  He moves to look through

the large bay windows facing the porch, cupping his eyes to

look inside.

 

He knocks once more, louder.  He tries the door, and it is

unlocked.  He opens it and walks in.

 

INT. BEACH HOUSE - ENTRANCE WAY - DAY

 

Greg stands inside the door.

 

                         GREG

             Annie?  Anybody home?

 

He moves tentatively into the house.

 

INT. THE BEACH HOUSE - DAY

 

Looking for "Annie," Greg moves through the house, which is

tastefully decorated with modern art and furniture.

 

As he enters the large living room, he notices a deck

outside and heads for the glass doors which lead to it.

There, looking outside, he sees Heather alone in a hot tub

on the deck.

 

Heather is naked but still wearing her dark glasses, alone

in the hot tub which overlooks the ocean.


                                                           14.

 

 

Greg slides open the door and goes out onto the deck.

 

EXT. THE DECK - DAY

 

Heather hears the door open and turns to it.

 

                         HEATHER

             Is that you, Greg?

 

                         GREG

             Sure is.

 

                         HEATHER

             You're late.

 

                         GREG

             I got lost.

 

                         HEATHER

             Come on in.  Put your clothes on

             the bench.

 

Greg sees the bench that runs along the outside wall of the

house.  Heather's clothes are laid out there.

 

He moves to the bench and starts to undress.

 

                         HEATHER

             We have suits if you're not into

             nudity.

 

The remark surprises Greg, who is still remembering her as a

little girl.

 

                         GREG

             Au naturel is fine.

 

He continues to undress.

 

EXT. THE HOT TUB - DAY

 

Naked, Greg slips into the hot tub across from Heather.  The

water is hotter than he anticipated.

 

                         GREG

             Oooo . . .

 

                         HEATHER

             You'll get used to it.

 

She smiles in his direction.


                                                           15.

 

 

                         HEATHER

             I'm really glad to be able to

             spend some time with you, Greg.

 

                         GREG

             Me, too.

 

He is obviously feeling awkward, naked in a hot tub with a

girl on the brink of womanhood.

 

EXT. MAIN ROAD - DAY

 

On the main road outside the beach house, a distance from

the driveway, a car pulls over.

 

FINLEY, 40ish, a photographer, gets out and walks to the

trunk.

 

He opens the trunk and takes out camera gear.  Gear in hand,

he closes the trunk and moves toward the beach house.

 

EXT. THE HOT TUB - DAY

 

Heather is slowly moving around the circumference of the hot

tub toward Greg.  He is moving away at the same rate.

 

                         HEATHER

             How old was I when you left?

 

                         GREG

             Around eight.

 

                         HEATHER

             Have I changed?

 

                         GREG

             Of course you've changed.  What

             kind of question is that?

 

                         HEATHER

             Have you changed?

 

                         GREG

             Yeah, I've changed, too.

 

                         HEATHER

             Do you have gray hair?

 

                         GREG

             No, I don't have gray hair.

 

                         HEATHER

             Why do you keep moving away?  I

             want to feel your face.


                                                           16.

 

 

Greg stops, and Heather comes around the circumference to

catch up with him, stopping right beside him.  She reaches

out and slowly feels his face, exploring it.

 

                         HEATHER

             You have changed.  You feel older.

 

                         GREG

             That's because I am older.

 

                         HEATHER

             Are you sorry you left us?

 

                         GREG

             Annie, what happened had to happen.

 

                         HEATHER

             I really missed you.

 

                         GREG

             I missed you, too.

 

EXT. OUTSIDE THE BEACH HOUSE - DAY

 

Finley continues to approach the house along an embankment

and reaches a spot now where he gets a good view of the hot

tub.  He stops, checking out an unobstructed view of the hot

tub, where Greg and Heather are standing close.

 

Satisfied with his position, Finley unloads the camera gear

and prepares to shoot.

 

EXT. THE HOT TUB - DAY

 

Heather still stands close to Greg, who appears very nervous.

Under the water, her hand glances against his genitals.

 

She giggles.  Greg immediately moves away.

 

                         HEATHER

             What's the matter?

 

                         GREG

             That wasn't nice.

 

                         HEATHER

             Who wants to be nice?

 

                         GREG

             I want to be nice.  I'm getting

             out.

 

She moves across the hot tub toward him, reaching him before

he climbs out.  She embraces him and their mouths meet.


                                                           17.

 

 

EXT. ALONG THE EMBANKMENT - DAY

 

Finley is shooting pictures, one after the other.  He grins

with satisfaction.

 

                         FINLEY

             Now we're cooking, honey - now

             we're cooking.

 

EXT. THE HOT TUB - DAY

 

Heather is kissing Greg passionately.  Finally he pulls back.

 

                         GREG

             We shouldn't be doing this.

 

                         HEATHER

             I missed you so much . . .

 

                         GREG

             Annie, this isn't right.  I'm

             practically your father.

 

                         HEATHER

             Not my real dad.

 

                         HEATHER

             Don't you think I'm attractive?

 

                         GREG

             Of course you're attractive.

 

                         HEATHER

             You just feel sorry for me.

 

                         GREG

             That has nothing to do with it.

 

She again embraces him, kissing him passionately.

 

EXT. ALONG THE EMBANKMENT - DAY

 

Finley is still snapping away.  He is visibly pleased with

the results he's getting.

 

EXT. THE HOT TUB - DAY

 

Heather moves close to whisper to Greg.

 

                         HEATHER

             Sit up on the edge.  I want to go

             down on you.


                                                           18.

 

 

                         GREG

             No!

 

Heather makes a move to do so anyway, going underwater, her

hands up on his chest.

 

EXT. ALONG THE EMBANKMENT - DAY

 

                         FINLEY

             All right, all right . . .!

 

He continues shooting pictures.

 

EXT. THE HOT TUB - DAY

 

Greg pulls away and jumps up out of the hot tub.  Heather

surfaces.

 

                         GREG

             No, goddamn it, this is wrong!

 

He moves away, looking confused and upset.  He goes to the

bench and starts dressing without drying off.

 

                         GREG

             I didn't come here to seduce you,

             for Christ's sake.

 

                         HEATHER

             I was seducing you.

 

                         GREG

             And you shouldn't be.  Jesus.

 

                         HEATHER

             So pretend I'm older.

 

                         GREG

             I'll be inside.

 

Half-dressed, he moves into the house.

 

EXT. ON THE EMBANKMENT - DAY

 

Finley stops shooting.  He looks delighted with what he's

been able to get on film.

 

                         FINLEY

             Honey, you ought to be in pictures.


                                                           19.

 

 

INT. BEACH HOUSE - DINING ROOM - EVENING

 

Greg and Heather sit across the dining room table from one

another, in the middle of an awkward dinner.  Greg is in the

clothes he arrived in.  Heather is wearing a robe.  As ever,

she has the dark glasses on.

 

                         HEATHER

             So shoot me or something.

 

                         GREG

             I'm not going to shoot you.

 

                         HEATHER

             You might as well - you won't

             talk to me.

 

                         GREG

             Frankly, I don't know what to say

             to you.  How the hell's a girl

             your age know about stuff like

             that?

 

                         HEATHER

             I know a lot more than that.

 

EXT. BEACH HOUSE - OUTSIDE DINING ROOM - EVENING

 

Finley is taking photos of their dinner through a window.

 

INT. DINING ROOM - EVENING

 

Greg is pouring himself some more wine.

 

                         HEATHER

             Don't I get any?

 

                         GREG

             You're too young.

 

Heather gets up from the table and, feeling her way, fetches

a wine glass, comes back and, feeling along the table, finds

the bottle and pours herself wine.

 

                         HEATHER

             You're really a geek.

 

                         GREG

             Why, because I won't screw you?

             You're practically my daughter.

 

                         HEATHER

             If I'm your daughter, how come

             you never wrote us?


                                                           20.

 

 

Greg looks a little guilty and does not reply.

 

                         HEATHER

             I'm not a virgin.

 

                         GREG

             Yeah, I got the impression you

             aren't.

 

                         HEATHER

             This is going to be a great

             weekend.

 

                         GREG

             Tell me about it.

 

                         HEATHER

             What are you afraid of?

 

                         GREG

             Who the hell are you?  Where's

             the cute little eight-year-old I

             knew? You sound like a hooker.

 

                         HEATHER

             You sound like a dinosaur.

 

                         GREG

             I'm going to watch television.

 

He moves away from the table.  Heather pours herself some

more wine.

 

EXT. THE HIGHWAY - NIGHT

 

Finley is putting the camera gear into the trunk of his car

when another car approaches and pulls up behind him.  He

recognizes it and walks to the driver's window.

 

The other car is driven by Connie.

 

                         CONNIE

             Did you get them?

 

                         FINLEY

             Couldn't have been better.

 

                         CONNIE

             You have everything we need?

 

                         FINLEY

             Hey, the kid's a natural.


                                                           21.

 

 

                         CONNIE

             Good.

 

She backs up and pulls back onto the highway, continuing

ahead to the beach house.

 

INT. BEACH HOUSE - DEN - NIGHT

 

Greg is watching television.  The front door opens and

Connie walks in.

 

Greg gets up and meets her in the living room off the

entranceway.

 

INT. BEACH HOUSE - LIVING ROOM - NIGHT

 

Greg starts to speak but is cut off by Connie.

 

                         CONNIE

             Surprise, surprise.  There ought

             to be a law against those goddamn

             portable telephones.  We're

             halfway to San Francisco and

             Roger gets an urgent call, and we

             have to turn back.  So much for a

             weekend in the city.  Where's

             Annie?

 

                         GREG

             In her room.

 

                         CONNIE

             How are you two getting along?

 

                         GREG

             It's a long story.

 

                         CONNIE

             Sounds like she got in one of her

             moods.  Their age, they can pout

             for days at a time.

 

                         GREG

             Listen, since you're here, I

             think I'll drive on home.

 

                         CONNIE

             You don't have to go.  There's a

             guest room you can use.  Spend

             the weekend.  Roger won't be long.

             I want you to meet him.


                                                           22.

 

 

                         GREG

             To tell the truth, I can use the

             time to grade papers this weekend.

 

Greg moves quickly, heading for the door.

 

                         CONNIE

             You can grade papers here.  I

             can't believe you didn't bring

             your work. Don't you think the

             house is gorgeous?

 

                         GREG

             Too gorgeous.  It's a distraction.

             Listen, I really appreciate

             everything, I ah, I'll call you -

             I don't have your number, you

             call me.

 

                         CONNIE

             Greg?  Did something happen

             between you and Ann?

 

                         GREG

             Of course not.  It's just been,

             you know, so long - we hardly

             know one another any more.

 

                         CONNIE

             What did you expect?

 

                         GREG

             Gorgeous house, really.  Thanks

             for everything.  Give me a call.

 

He leaves.

 

Connie moves to the window to watch him go to his car.

 

EXT. BEACH HOUSE - NIGHT

 

Greg gets into his car and backs out the driveway.

 

INT. BEACH HOUSE - ENTRANCEWAY - NIGHT

 

Connie turns away from the front window to find Heather

behind her.

 

                         CONNIE

             How'd it go?

 

                         HEATHER

             Just like you said it would.


                                                           23.

 

 

She takes off her dark glasses.

 

Without the glasses on, Heather's eyes are clear, and

obviously she is not blind.

 

Heather smiles at Connie.

 

EXT. HIGH SCHOOL STADIUM - FOOTBALL FIELD - DAY

 

STUDENTS in caps and gowns march to music played by the

school band.  Graduation ceremonies are under way.

 

EXT. HIGH SCHOOL STADIUM - BLEACHERS - DAY

 

Greg and Christy sit in the bleachers, watching the ceremony.

It's a beautiful day, and the excitement and joy in the air

are palpable.

 

EXT. A STREET OUTSIDE THE STADIUM - DAY

 

A car slowly moves down a street outside the stadium.

 

INT. THE CAR - DAY

 

The car is occupied by two MEN dressed in suits.  Their

demeanor suggests "the law."

 

EXT. PARKING LOT OUTSIDE STADIUM - DAY

 

The car pulls into the parking lot and drives close to the

stadium, finally parking illegally.  The two men get out.

 

One of the men has a manilla envelope.  He takes a photograph

out of it.

 

INSERT: THE PHOTOGRAPH

 

It is a photo of Greg and Heather in the hot tub, nude, the

teenager smiling and standing very close to him.

 

EXT. PARKING LOT - DAY

 

The men are perusing the photograph.

 

                         FIRST OFFICER

             Guys like him make me puke.

 

They enter the stadium.

 

EXT. FOOTBALL FIELD - DAY

 

After the ceremonies, parents and friends come onto the

field to congratulate the graduating seniors, who beam in

their caps and gowns.


                                                           24.

 

 

Greg is giving Trisha a big hug as Christy and her parents

watch.  Mr. Morris has a camera.

 

                         TRISHA

             Take my picture with Greg.

 

                         GREG

             Hey, I may break the camera.

 

                         TRISHA

             Don't be silly.

 

Trisha puts her arm in his in a pose suggesting they are a

couple, rather than teacher and student.

 

Mr. Morris takes position to snap the photo.

 

                         TRISHA

             I'll put it on my desk in the dorm.

 

                         MRS. MORRIS

             Then Greg can take one of us.

 

Across the way, the police officers work their way through

the crowd, looking for Greg.  One of them sees him.

 

                         SECOND OFFICER

             Over there.

 

They move off.

 

Greg has just snapped the family photo.

 

                         GREG

             Good show.

 

The two officers move into the scene.

 

                         FIRST OFFICER

             Gregory Barstow?

 

                         GREG

             Yes.

 

The first officer flashes his badge.

 

                         FIRST OFFICER

             You're under arrest.

 

                         GREG

             Pardon me?


                                                           25.

 

 

                         FIRST OFFICER

             Please come with us, sir.  We'd

             like to make as quiet a scene

             here as possible.

 

Christy butts in.

 

                         CHRISTY

             You can't just barge in here like

             this.

 

                         SECOND OFFICER

             Please, ma'am.

 

                         GREG

             Christy, I'll handle it.  I'm

             sure there's some mistake here.

             What's the charge?

 

                         SECOND OFFICER

             If you'd come with us, please.

 

                         GREG

             I want to know the charge.

 

The first officer smiles, looking like he is enjoying this.

 

                         FIRST OFFICER

             Let's call it "moral turpitude."

             You ready to come with us now?

 

Greg looks stunned by the charge.  The officers start to

lead him away.

 

                         CHRISTY

             Don't say a word until I call my

             lawyer.

 

                         TRISHA

             What is going on?

 

Trisha makes a move to go after Greg but is stopped by her

father.

 

Christy moves to Trisha, comforting her, and they all watch

the officers lead Greg away.

 

EXT. PORTLAND POLICE DEPARTMENT - DAY

 

Police headquarters is located in the new City Hall building

downtown.


                                                           26.

 

 

INT. POLICE HEADQUARTERS - LARGE ROOM - DAY

 

Greg, sitting at a conference table, is looking through the

photographs of himself and Heather in the hot tub.

 

Across from him sits DETECTIVE VILLANOVA, 60ish, a hard-

looking veteran close to retirement age.

 

                         DETECTIVE VILLANOVA

             So you going to tell me you have

             a twin or what?

 

                         GREG

             It's me.  But nothing happened.

 

                         DETECTIVE VILLANOVA

             That's not what the girl or her

             mother says.

 

                         GREG

             As soon as Annie made advances, I

             was out of there.  We barely

             talked to one another the rest of

             the evening.

 

                         DETECTIVE VILLANOVA

             Who's Annie?

 

                         GREG

             What do you mean, who's Annie?

             The girl.  My former step-daughter.

 

                         DETECTIVE VILLANOVA

             I don't know about step-daughters

             but this here is Heather Swanson.

 

                         GREG

             That's ridiculous.

 

                         DETECTIVE VILLANOVA

             She and her mother--

 

                         GREG

             Her mother is my ex-wife, Connie.

             I'm not sure what last name she's

             using now.  She may have remarried.

 

                         DETECTIVE VILLANOVA

             Charges were filed by one Ms.

             Judi Swanson, in behalf of her

             daughter, Heather.  Here, look

             for yourself.


                                                           27.

 

 

He passes a sheet of paper to Greg, who grabs it.  He is

visibly shocked at what he reads.

 

                         GREG

             This is-- . . . Christ, I don't

             know what it is.  A set-up or

             something.  Who took these

             photographs?

 

Villanova smiles at him.

 

                         GREG

             This girl is my step-daughter,

             and she's blind.  Look, see the

             dark glasses?

 

                         DETECTIVE VILLANOVA

             Maybe she thinks she's cool.

 

                         GREG

             She's blind, damn it!

 

                         DETECTIVE VILLANOVA

             She wasn't blind when I talked to

             her the other day.  She told her

             story looking me straight in the

             eye.

 

INT. POLICE HEADQUARTERS - JAIL CELL - EVENING

 

Greg is alone in his cell.  Down the hallway, a jail door

opens and shuts with a loud clanging noise.

 

Greg moves to the bars to see who is coming.  It is Jay, the

principal of the high school, who is escorted to the cell by

a police officer.

 

                         JAY

             I'm sorry I couldn't get here

             earlier.

 

Jay enters the cell, which the police officer closes behind

him.  The officer leaves.

 

                         JAY

             I had a larger room in grad school.

 

                         GREG

             I don't know what the hell's

             going on, Jay.

 

                         JAY

             If I could believe you, that

             would be a relief.


                                                           28.

 

 

                         GREG

             I'm innocent, goddamn it!

 

                         JAY

             Greg, you're a very talented

             teacher but your lifestyle . . .

             you know I never approved of you

             moving in with Christy.  It sets

             a bad role model.  And now this.

 

                         GREG

             I've never heard of this girl.  I

             thought it was my step-daughter.

             Ex-step-daughter.  And nothing

             happened between us.

 

                         JAY

             I want to believe that.  Christy

             will pay your bail, of course.

             They wouldn't let both of us in

             to see you.

 

                         GREG

             Are you telling me I can get out

             of here?

 

                         JAY

             It shouldn't be long.  I just

             wanted to come by and see for

             myself.

 

                         GREG

             Jay, I'm innocent.

 

                         JAY

             Good.  Good.

 

INT. JAIL - PRISONER INTAKE AREA - NIGHT

 

A POLICE OFFICER is giving Greg some personal possessions

that were taken from him.

 

In the adjacent waiting area, Christy and Raymond are

waiting for him.  When Greg has his things, he joins them.

 

                         GREG

             Let's get the hell out of here.

 

EXT. POLICE HEADQUARTERS - NIGHT

 

Greg, Christy and Raymond come out of the building.


                                                           29.

 

 

                         GREG

             Half a day in there feels like

             eternity.

 

                         RAYMOND

             Where to?

 

                         GREG

             My car's still at school.

 

                         RAYMOND

             I thought you might want a beer

             first.

 

                         CHRISTY

             You two go.  I want to be home in

             case the lawyer calls.

 

                         GREG

             You're sure?

 

Christy kisses him on the cheek.

 

                         CHRISTY

             Don't be too late.

 

INT. COCKTAIL LOUNGE - NIGHT

 

Greg and Raymond sit in a corner booth, nursing drinks.

 

                         GREG

             She's blackmailing me, man.

             That's the only thing that makes

             any sense.

 

                         RAYMOND

             I thought you told me you'd never

             been married.

 

                         GREG

             Did I?  Must have blacked it out.

             I'm scared, Ray.

 

                         RAYMOND

             "Hell hath no fury like a woman

             scorned."

 

                         GREG

             I mean it.  Our divorce was

             really ugly.

 

                         RAYMOND

             Doesn't that go with the genre?


                                                           30.

 

 

                         GREG

             She accused me of having an

             affair with a student.

 

                         RAYMOND

             Really?

 

                         GREG

             That happens, man, you're guilty

             until proven innocent.  I had to

             settle with Connie and the school

             district out of court.  I agreed

             to quit teaching in California.

 

                         RAYMOND

             Why, if you were innocent?

 

                         GREG

             I was sick of California anyway.

             I moved up here right after the

             divorce.

 

                         RAYMOND

             Greg, I just need to hear you say

             it: you didn't mess with this

             girl, did you?

 

                         GREG

             No.  I swear to God, she came on

             like gangbusters but I didn't

             touch her.  The guy was outside

             taking pictures.  It was all

             planned.

 

                         RAYMOND

             If what happened in California

             comes up . . .

 

                         GREG

             I know, man.  That's why I'm

             scared.

 

EXT. WEST HILLS NEIGHBORHOOD - CHRISTY'S HOUSE - DAY

 

Christy's house is a large Victorian in the exclusive West

Hills section of Portland.  Greg's VW van is in the driveway,

parked behind Christy's BMW.

 

Greg comes out the door and heads for his van.

 

INT. HOUSE - BEDROOM - DAY

 

Christy gets out of bed and puts on her robe.


                                                           31.

 

 

                         CHRISTY

             Greg?

 

She heads for the kitchen.

 

INT. THE KITCHEN - DAY

 

Christy enters the kitchen, looking for Greg.  She heads for

the living room.

 

INT. LIVING ROOM - DAY

 

Christy goes to the front window and looks outside.  She

sees Greg in the van.

 

Christy hurries to the front door and opens it.

 

EXT. CHRISTY'S HOUSE - DAY

 

Christy comes out onto the porch and watches Greg's van move

down the street.

 

EXT. FREEWAY ENTRANCE - DAY

 

Greg's van pulls onto the freeway.

 

INT. VAN - DAY

 

Behind the wheel, Greg looks both apprehensive and determined.

 

EXT. COAST HIGHWAY - DAY

 

The van is driving along the coast, along the same stretch

of highway that leads to the beach house.

 

EXT. BEACH HOUSE - DAY

 

The van pulls into the driveway of the beach house.  Greg

gets out and goes to the front porch.  He knocks on the door.

 

INT. BEACH HOUSE - DEN - DAY

 

Heather is watching television and hears the knock on the

door.

 

Glass windows look out onto the deck, where Heather's

mother, JUDI SWANSON, 30ish, is in the hot tub.  She's a

hard-looking woman who looks like she's had a tough life.

 

Heather gets up to answer the door.  Along the way, however,

she recognizes Greg through a window.

 

She turns and hurries  off to get her mother.


                                                           32.

 

 

EXT. PORCH - DAY

 

Through the window Greg watches Heather approach and then

turn to hurriedly leave.  He looks alarmed.

 

                         GREG

             Hey, wait a minute!  Come back

             here!

 

Greg quickly follows the wrap-around porch toward the rear

deck.

 

EXT. DECK - HOT TUB - DAY

 

Heather arrives at the hot tub.

 

                         HEATHER

             That man's here!

 

Judi gets out and slips into a robe.  Greg comes around the

corner to face them.

 

                         JUDI SWANSON

             One more step and I'll call the

             police.

 

                         GREG

             I don't want any trouble.

 

                         JUDI SWANSON

             You've already caused trouble.

 

                         GREG

             I don't even know you.

 

                         JUDI SWANSON

             You know my daughter.

 

                         GREG

             I thought she was my step-

             daughter. Why are you doing this?

             My ex-wife put you up to it,

             didn't she?

 

No one replies.

 

                         GREG

             Did she pay you, is that it?

 

Judi and Heather just stare at him.  Heather looks much more

nervous than her mother.

 

Greg takes a step forward.


                                                           33.

 

 

                         JUDI SWANSON

             I'll call the police.

 

She make a move toward the sliding door into the house.

 

                         GREG

             Wait!  Please.  I'm not here to

             cause trouble.

 

                         JUDI SWANSON

             Bullshit, you ain't.  We got

             nothing to say to you, mister.

             Turn your ass around and go home.

 

                         GREG

             Just tell me why.  Why me?

 

No one answers him.  Finally Greg turns and leaves.

 

EXT. BEACH HOUSE - NIGHT

 

Greg is in his van, which is parked along the road down from

the beach house.

 

He is spying on Judi and Heather, who are sitting at the

table, having dinner.

 

INT. VW VAN - NIGHT

 

Greg watches them from the van.  He has a pint of whiskey

and is sipping from it.  He looks very upset about what has

transpired.

 

EXT. BEACH HOUSE - NIGHT

 

A police patrol car pulls up behind the van.  A POLICE

OFFICER gets out and approaches the van.

 

INT. VAN - NIGHT

 

Greg sees the patrol car through his rearview mirror.  He

quickly puts the liquor bottle into the glove compartment.

 

EXT. VAN - NIGHT

 

Greg gets out to talk to the officer.

 

                         GREG

             Evening, officer.

 

                         PATROL OFFICER

             Evening.  Is there a problem here?


                                                           34.

 

 

                         GREG

             Not any more.  I just changed a

             flat.

 

                         PATROL OFFICER

             I see.

 

                         GREG

             I'm from Portland.  Is there a

             gas station open around here?

 

                         PATROL OFFICER

             Newport would be the closest at

             this hour.

 

                         GREG

             Right.  Well, thanks a lot,

             officer.

 

He heads back to the van.  The officer turns and goes back

to the patrol car.

 

INT. VAN - NIGHT

 

Greg watches as the patrol car pulls around him and leaves,

waving as the officer passes.  He takes a deep breath.

 

He turns on the engine.

 

EXT. PRINCIPAL'S HOME - DAY

 

The principal's home is a fashionable modern house in a

middle class neighborhood.

 

Some cars are parked behind one another in the driveway,

others along the curb out front.  One of the latter vehicles

is Greg's VW van.

 

INT. PRINCIPAL'S HOME - LIVING ROOM - DAY

 

Jay, the principal, taps on a wine glass for attention.

 

                         JAY

             Attention, please.  Let's get

             this show on the road.

 

The living room is filled with faculty members, including

Greg and Raymond, who are chatting among themselves.

 

As Jay taps the wine glass again, everyone quiets down.


                                                           35.

 

 

                         JAY

             Before we get down to our regular

             business, I want to express my

             unequivocal support of Greg in

             this difficult time.

 

Spontaneous applause bursts out in the room.  When it dies

down, the principal continues.

 

                         JAY

             Greg, we just want you to know

             you've got a lot of friends here.

 

                         GREG

             Thanks, I needed that.

 

Everyone starts talking at once, giving Greg verbal support.

Jay taps on the wine glass again.

 

EXT. PRINCIPAL'S HOME - DAY

 

Faculty members are coming out to their cars after the

meeting.

 

On the porch, Greg is talking to Raymond when Jay approaches

him.

 

                         JAY

             Can I speak to you a moment, Greg?

 

                         RAYMOND

             I'll call you tonight, buddy.

 

                         GREG

             Right.

 

Raymond moves off.  Jay and Greg are alone on the porch.

 

                         JAY

             Shall we step inside?

 

                         GREG

             It's that bad?

 

Jay forces a laugh and stays on the porch.

 

                         JAY

             That's not the word I'd use.

             Greg, I mean it when I say I'm

             behind you all the way.  But I

             have to look at the big picture.


                                                           36.

 

 

                         GREG

             Which is why you took away my

             summer class, right?

 

                         JAY

             I can't afford the publicity.

             Not everyone is likely to be as

             charitable as we are.

 

                         GREG

             Charitable?

 

                         JAY

             To know you like we do.

 

Greg looks like he is about to blow his top but manages to

keep his cool.

 

                         GREG

             In other words, I'm guilty until

             proven innocent.

 

                         JAY

             That's not what I mean at all.

 

Greg starts away.

 

                         GREG

             That's what the hell it feels like!

 

                         JAY

             Don't do anything rash.  It makes

             you look guilty.

 

                         GREG

             Fuck you.

 

Greg trots to his car and gets in.  He peels out.

 

EXT. PORCH - DAY

 

Jay watches him go, shaking his head.  His expression

suggests that he actually is confused about Greg's innocence

or guilt.

 

EXT. CHRISTY'S HOUSE - NIGHT

 

Greg's van is parked behind Christy's BMW in the driveway.

 

INT. CHRISTY'S HOUSE - DINING ROOM - NIGHT

 

Greg and Christy are having dinner in the elegant dining

room.  Christy abruptly puts down her fork.


                                                           37.

 

 

                         CHRISTY

             How long is this going to go on?

 

                         GREG

             What go on?

 

                         CHRISTY

             You not talking to me.

 

                         GREG

             I'm sorry.  I feel . . . I don't

             know how I feel.

 

                         CHRISTY

             You'll feel better after talking

             to the lawyer tomorrow.

 

The phone in the nearby kitchen starts ringing.

 

                         CHRISTY

             It's probably for you.  Want me

             to say you're not here?

 

                         GREG

             It may be Raymond.

 

He gets up to answer the phone.

 

INT. KITCHEN - NIGHT

 

Greg answers the phone.

 

                         GREG

             Hello?

 

                         TRISHA (FILTERED)

             Hi.  This is Trisha.

 

Greg cups his hand over the phone's mouthpiece.

 

                         GREG

             Hi.

 

There's an awkward pause.

 

                         TRISHA (FILTERED)

             I was wondering how you're doing.

 

                         GREG

             All right, under the circumstances.

 

                         TRISHA (FILTERED)

             No one believes you're guilty,

             Greg.


                                                           38.

 

 

                         GREG

             I'm not so sure of that.

 

                         TRISHA (FILTERED)

             I don't.

 

                         GREG

             I appreciate it.

 

                         TRISHA (FILTERED)

             I'd like to see you.

 

                         GREG

             Listen, ah, this is a bad time to

             talk.  I'll get back to you, okay?

 

                         TRISHA (FILTERED)

             I love you, Greg.

 

                         GREG

             I have to go.  I'll be in touch.

 

He hangs up.

 

INT. DINING ROOM - NIGHT

 

Greg returns to the dining room and sits down to finish his

dinner.

 

                         CHRISTY

             How's Raymond?

 

                         GREG

             Fine.

 

                         CHRISTY

             Is something the matter?

 

                         GREG

             Is that supposed to be a joke?

 

                         CHRISTY

             Honey, I'm sorry.

 

They both eat in silence.

 

INT. HALLWAY - OFFICE DOOR - DAY

 

The door reads "Harrison Browning, Attorney at Law".


                                                           39.

 

 

INT. LAW OFFICE - DAY

 

Greg sits in conference with Christy's lawyer, BROWNING,

40ish, smartly dressed in a suit and vest.  Greg is wearing

is customary "sixties" theatrical costume, with a tie-dye

shirt and beads.

 

                         BROWNING

             One other thing, Greg.

 

Browning stares at him, looking expectant.  Finally Greg

answers.

 

                         GREG

             What's that?

 

                         BROWNING

             Your wardrobe.  You always dress

             like that?

 

                         GREG

             I don't wear a three-piece suit,

             if that's what you mean.

 

                         BROWNING

             You own one?

 

                         GREG

             As a matter of fact, I don't.  Why?

 

                         BROWNING

             Buy one.

 

                         GREG

             What for?

 

                         BROWNING

             To wear in court.

 

                         GREG

             I'm innocent, I don't see why I--

 

                         BROWNING

             Don't ask questions, just do it.

             I know what I'm doing.  If you

             don't trust me, get another lawyer.

 

INT. MEN'S CLOTHING STORE - DAY

 

Greg is modeling a three-piece suit as Raymond watches.

 

The SALESMAN, in his twenties, pulls at the shoulders,

checking the sleeve length, making sure the fit is good.


                                                           40.

 

 

                         GREG

             I feel like an idiot.

 

INT. SHOPPING MALL - DAY

 

The men's clothing store is located in a shopping mall.

Customers crowd the walkways leading past a wide variety of

topline stores.

 

Connie appears, holding a shopping bag and heading in the

direction of the men's store.

 

INT. MEN'S CLOTHING STORE - DAY

 

Greg is still being fitted when Connie comes by the store

window.  Turning, Greg suddenly sees her.

 

                         GREG

             That's her!

 

Greg moves away from the salesman, who has been making a

measurement, and hurries for the door.  He is in stocking

feet and still wears the suit.

 

As he makes his move, Connie turns and recognizes him.  She

rushes off.

 

Greg runs out of the store, hurrying after her, as the

saleman yells at him.

 

                         SALESMAN

             Sir, you can't--!

 

                         RAYMOND

             We'll be right back, I promise.

 

Raymond joins the chase, with the salesman right behind him.

 

INT. THE MALL - WALKWAY - DAY

 

Connie is running down the walkway, followed by Greg,

followed by Raymond, followed by the salesman.

 

                         GREG

             Connie!  I just want to talk!

 

Connie turns and looks frightened, as Greg gains ground on

her.  She stops a passing GENTLEMAN for help, pointing at

the approaching Greg.

 

                         CONNIE

             That man tried to rape me!

             Please help me!


                                                           41.

 

 

She runs off again.

 

Greg reaches the gentleman, who sets his body in the way

like a linebacker.  Greg makes an effort to get around him,

fails, and the gentleman tackles him to the ground.

 

                         GENTLEMAN

             Police, police!

 

Connie reaches an escalator down to the parking garage,

turns and sees that she is safe, and boards the escalator

with a sigh of relief.

 

INT. MALL - DAY

 

Greg is trying to explain himself to a POLICEMAN, as Raymond

tries to help and the anxious salesman tries to get his

garment back, everyone talking at once.

 

A growing crowd gathers to see what is going on.

 

INT. LAWYER'S OFFICE - DAY

 

Greg sits across the desk from Browning, who is looking at a

photograph of Connie.

 

                         GREG

             You do investigate things, don't

             you?  You subcontract a private

             eye or something?

 

                         BROWNING

             Yes, I have an investigator.

 

                         GREG

             Then find her.  There's no doubt

             it was her.

 

                         BROWNING

             I'll look into it.

 

                         GREG

             I want you to find her!

 

EXT. COAST HIGHWAY - DAY

 

Greg's VW van speeds along the highway, passing familiar

coastal scenery.

 

INT. VAN - DAY

 

Greg drives.  Raymond sits in the passenger seat.


                                                           42.

 

 

                         GREG

             Not far now.

 

                         RAYMOND

             I still think this is crazy.

 

                         GREG

             You'll do fine.

 

                         RAYMOND

             I'm not like you, I'm not a

             theater person.  I'm a closet

             intellectual.

 

                         GREG

             You're a natural actor, believe me.

 

EXT. BEACH HOUSE - DAY

 

Greg's van pulls to the shoulder of the road.  In the near

distance is the beach house.

 

INT. VAN - DAY

 

                         GREG

             You ready?

 

                         RAYMOND

             As I'll ever be.

 

                         GREG

             The secret is the free offer.

             That should at least get you

             inside.

 

EXT. VAN - DAY

 

Greg and Raymond get out and go to the van's sliding door,

which Greg opens.

 

Greg brings out a new set of knives and a cutting board,

wrapped in their original packaging. He gives them to Raymond.

 

                         GREG

             One free gift.

 

Greg brings out a clipboard, also handing it to Raymond.

 

                         GREG

             One petition for a worthy cause.

 

Raymond shakes his head.


                                                           43.

 

 

                         RAYMOND

             What if they don't want to save

             the whales?

 

                         GREG

             Everybody wants to save the

             whales. They get a free gift just

             for listening to your rap.  It'll

             work. Trust me.

 

                         RAYMOND

             I feel like a fool.

 

                         GREG

             Break a leg.

 

He gives Raymond a gentle shove toward the beach house.

 

EXT. BEACH HOUSE - FRONT PORCH - DAY

 

Raymond approaches the house, goes up on the porch and

knocks on the front door.  He waits nervously.

 

When there is no immediate answer, he turns to walk away but

the door opens before he is off the porch.

 

CHESTER WILLIAMS, 60ish, a dapper gray-haired gentleman,

answers the door.

 

                         CHESTER WILLIAMS

             Can I help you?

 

Raymond is taken aback to see an old man.

 

                         RAYMOND

             Ahm, is the, ah, lady of the

             house in?

 

                         CHESTER WILLIAMS

             I'm afraid she's been dead for

             almost five years.

 

                         RAYMOND

             Oh, ah, I'm sorry.

 

                         CHESTER WILLIAMS

             What are you selling, young man?

 

                         RAYMOND

             I'm sorry, I think I have the

             wrong address.

 

He hurries off as Williams watches him go, looking a little

amused.


                                                           44.

 

 

EXT. VAN - DAY

 

Raymond returns, still carrying the free gift.

 

                         GREG

             Didn't you ask him who he was or

             anything?

 

                         RAYMOND

             No woman lives there, he said.

             You sure you got the right place?

 

                         GREG

             Christ, if you want something

             done right, do it yourself.

 

He heads for the beach house.

 

                         RAYMOND

             I didn't want to do this in the

             first goddamn place!

 

Greg continues toward the house.  With an exasperated sigh,

Raymond follows behind.  Greg turns to him.

 

                         GREG

             Wait here.  You already blew your

             cover.

 

Greg continues on alone.

 

EXT. BEACH HOUSE - PORCH - DAY

 

Greg goes to the door and knocks.  Once again, Williams

answers.

 

                         CHESTER WILLIAMS

             Yes?

 

                         GREG

             I understand this is a rental?

 

                         CHESTER WILLIAMS

             It is.

 

                         GREG

             And you're the owner?

 

                         CHESTER WILLIAMS

             I am.

 

                         GREG

             But my sister's probably already

             gone, right?


                                                           45.

 

 

                         CHESTER WILLIAMS

             And who is your sister?

 

                         GREG

             Judi Swanson.  I'm not sure if

             she rented it in her name or her

             girlfriend's.  Connie something.

 

                         CHESTER WILLIAMS

             Judi Swanson did rent the house

             through the weekend.

 

                         GREG

             I was supposed to be here myself.

             I live in Chicago and, well, got

             tied up on business and couldn't

             make it.  The thing is - this is

             so embarrassing - I'm not sure

             where she's staying now.  She

             just separated from her husband.

             With the kid and all, it's tough.

             Anyway, I wonder if you could

             help me.  Did she leave a

             forwarding address?

 

                         CHESTER WILLIAMS

             You're her brother?

 

                         GREG

             Yes, sir.

 

                         CHESTER WILLIAMS

             Come in.

 

INT. BEACH HOUSE - DEN - DAY

 

Williams stands at a desk, looking through the registration

book.

 

                         CHESTER WILLIAMS

             Here we are.

 

EXT. VAN - DAY

 

Greg returns to the van and gets in.

 

INT. VAN - DAY

 

Greg starts the engine.

 

                         RAYMOND

             Well?


                                                           46.

 

 

                         GREG

             Judi Swanson has a Portland

             address.

 

EXT. COAST HIGHWAY - DAY

 

The van pulls back onto the highway.

 

EXT. PORTLAND FREEWAY - NIGHT

 

Greg's van is on the freeway, approaching the Portland

skyline.

 

Greg changes lanes to hit a ramp connecting to another

stretch of freeway.

 

INT. VAN - NIGHT

 

Raymond responds to the lane change.

 

                         RAYMOND

             Where are we going?

 

                         GREG

             Where do you think?

 

                         RAYMOND

             You're going to that part of town

             without a police escort?  Count

             me out.

 

                         GREG

             Come on, man, what can happen?

 

                         RAYMOND

             What, you don't read the paper?

             Drive-by shootings, drug wars--

 

                         GREG

             At this hour, the two of us

             together, we'll be fine.

 

He turns to look at Raymond.

 

                         GREG

             I can't turn around now, Raymond.

 

EXT. FREEWAY RAMP - NIGHT

 

Greg's van enters a new section of freeway, heading to North

Portland.


                                                           47.

 

 

EXT. NORTH PORTLAND - MAIN DRAG - NIGHT

 

Greg's van is cruising the main drag of North Portland. This

street was the old 99 highway years ago, in an era before

freeways, but now it's the closest thing Portland has to a

ghetto, with the street lined with run-down motels and

boarded-up businesses.

 

At street corners and bus stops are women who are clearly

prostitutes, some not very subtle in their solicitations of

passing motorists.

 

EXT. MAIN DRAG - NIGHT

 

Greg stops for a stoplight.  A BLACK PROSTITUTE is at the

corner.

 

Young and heavily made up, the prostitute sticks out her

tongue at the van, making seductive licking motions.

 

INT. VAN - NIGHT

 

Raymond is visibly shocked.

 

                         RAYMOND

             Jesus Christ.  She can't be

             seventeen.

 

                         GREG

             Who can tell in all that makeup?

 

                         RAYMOND

             We were once the most livable

             city in America.  Christ, she's

             coming this way.

 

EXT. STREET CORNER - NIGHT

 

The prostitute seductively heads toward the van.

 

                         PROSTITUTE

             Hey, baby, you be lookin' for a

             date or what?

 

Her expression changes now, in reaction to the light's

changing and Greg's van pulling away.

 

                         PROSTITUTE

             Get back to where you belong,

             honky muthafukas!

 

The van speeds through the intersection.


                                                           48.

 

 

EXT. QUIET STREET - NIGHT

 

The van cruises a quiet-looking neighborhood, as Greg and

Raymond look for an address.  Though the neighborhood is

quiet, most of the houses along the street are in need of

paint and repairs.

 

INT. VAN - NIGHT

 

Greg points at a house.

 

                         GREG

             There, what's the address there?

 

                         RAYMOND

             I can't make it out.

 

Greg pulls the van to the curb.

 

                         GREG

             It's in this block.

 

EXT. NEIGHBORHOOD STREET - NIGHT

 

They both get out.

 

                         GREG

             This way.

 

Greg leads the way down the block.  He stops in front of a

run-down house.  There are lights on inside.

 

                         GREG

             That one was 2130.  This must be

             it.

 

                         RAYMOND

             Let's come back when the sun's up.

 

                         GREG

             I want to surprise her.

 

He starts up the walk, which is bordered by an unkempt lawn.

Raymond reluctantly follows.

 

EXT. HOUSE - FRONT PORCH - NIGHT

 

They reach the porch and go to the front door.  There is no

porch light.  Greg looks at Raymond, then knocks on the door.

 

                         RAYMOND

             Let's get the hell out of here.


                                                           49.

 

 

                         GREG

             I think someone's coming.

 

                         RAYMOND

             Greg, for Christ's sake--

 

He stops when the door opens.  FREDDY, a black teenager,

appears.  His shirt is off, showing a muscular physique, and

he wears a gold chain around his neck.

 

                         FREDDY

             Yeah, what you want?

 

Greg turns to RAYMOND, then back to Freddy.  A voice is

heard inside the house.

 

                         HEATHER (O.C.)

             Who is it, Freddy?

 

                         FREDDY

             I think they got the wrong

             address. That right, man?

 

                         GREG

             Perhaps so.

 

Heather appears in the doorway, and Greg immediately

recognizes her as the girl in the hot tub.  She also

recognizes him.

 

                         HEATHER

             Freddy, that's him!

 

Greg and Raymond turn and race off the porch, heading for

the car.

 

EXT. HOUSE - NIGHT

 

Freddy runs after them, and Heather comes onto the porch to

watch.  Just before Greg and Raymond reach the car, Freddy

catches up.

 

There is a brief scuffle, and together Greg and Raymond

manage to throw Freddy to the ground.  He draws a switchblade

knife, getting up to confront them.

 

                         FREDDY

             What you want, man?

 

                         GREG

             I'm sorry, we made a mistake.

 

                         FREDDY

             You made a big mistake.


                                                           50.

 

 

                         GREG

             We'll be on our way.

 

                         FREDDY

             You make a bigger mistake if you

             come around here again.

 

Greg motions to Raymond to get into the van, which they both

do.  Freddy cautiously approaches the passenger's window.

 

INT. VAN - NIGHT

 

Raymond locks the passenger door.

 

                         RAYMOND

             Will you get the hell out of here?

 

Greg starts the engine, and the van pulls away from the curb.

Freddy watches them go, as Heather comes to his side.

 

                         HEATHER

             He'll screw everything up, I know

             he will.

 

                         FREDDY

             We got pictures, and he don't

             know shit.

 

INT. COCKTAIL LOUNGE - NIGHT

 

Greg and Raymond sit at the bar.  Both have had a little too

much to drink.

 

                         GREG

             You're a witness, right?  You saw

             the girl at the play.

 

                         RAYMOND

             I don't remember her at the play.

 

The BARTENDER comes by.

 

                         BARTENDER

             You got two minutes.

 

Greg finishes his drink and hands the glass to the bartender.

 

Raymond pushes a half-full drink forward, which Greg takes,

finishing it in a single gulp.

 

                         GREG

             We're out of here.


                                                           51.

 

 

EXT. BAR - PARKING LOT - NIGHT

 

They stand next to the van.

 

                         RAYMOND

             You sure you can drive?

 

                         GREG

             I'm fine.

 

Raymond takes the keys from him.

 

                         RAYMOND

             I'll drive to my place, how's

             that? You can stay over.

 

Greg gets into the passenger seat.

 

INT. RAYMOND'S APARTMENT - LIVING ROOM - MORNING

 

Greg is asleep in his clothes on the divan and stirs.  He

sits up.  He looks at his watch.

 

He struggles to his feet and heads for the front door.

 

EXT. RAYMOND'S APARTMENT - MORNING

 

Greg comes outside.  The sun is about to rise.  He finds his

van in the apartment's parking lot.

 

INT. CHRISTY'S HOUSE - BEDROOM - MORNING

 

Christy is asleep in bed.

 

EXT. CHRISTY'S HOUSE - DRIVEWAY - MORNING

 

Greg pulls into the driveway, parking behind the BMW, and

gets out.

 

INT. CHRISTY'S HOUSE - MORNING

 

Greg comes in.  He moves through the front foyer, through

the living room, and down a hall to the bedroom.

 

INT. THE BEDROOM - MORNING

 

Greg comes in and plops down on the bed in his clothes, next

to Christy.  He snuggles close against her.

 

Christy stirs, opens her eyes and sits up with a frightened

gasp.


                                                           52.

 

 

                         CHRISTY

             Greg, Jesus Christ, you scared me

             to death.  Where have you been?

 

                         GREG

             I found her.

 

                         CHRISTY

             You're drunk.  I'll make coffee.

 

She gets out of bed.

 

INT. CHRISTY'S HOUSE - BREAKFAST BAR - DAY

 

Greg sits at the breakfast bar, sipping coffee.  Christy, in

her robe, sips coffee while doing kitchen chores.

 

                         GREG

             You don't believe me, do you?

 

                         CHRISTY

             I don't know what to think.

 

                         GREG

             I don't believe in conspiracies.

             I mean, I think Oswald acted

             alone when he shot Kennedy but I

             swear to God, I think I'm the

             victim of some kind of conspiracy.

             That girl pretended to be Annie.

             It was a set-up from the start.

 

                         CHRISTY

             Why would anyone set you up?

 

Greg shrugs.

 

                         GREG

             I don't know.

 

He gets up and starts out of the kitchen.

 

                         CHRISTY

             Now where are you going?

 

                         GREG

             I don't know.   I can't sit

             still, man.  For a drive, I guess.

 

                         CHRISTY

             Greg, please be careful.

 

He nods and leaves.  Christy waits until she hears the door

close.


                                                           53.

 

 

As soon as he's gone, she goes to the phone and dials a

number.  After a few rings, Connie answers.

 

                         CONNIE (FILTERED)

             Hello?

 

                         CHRISTY

             What the hell's going on?

 

                         CONNIE (FILTERED)

             Christy?

 

                         CHRISTY

             He says he found the girl.

 

                         CONNIE (FILTERED)

             That's impossible.

 

                         CHRISTY

             I'm coming over.

 

                         CONNIE (FILTERED)

             Now?

 

                         CHRISTY

             I'll be there in twenty minutes.

 

She hangs up.

 

INT. LAWYER'S OFFICE - DAY

 

Greg once again is seeing his lawyer, who is on the phone.

Browning hangs up.

 

                         BROWNING

             This better be legit.

 

                         GREG

             There were two of us, we both saw

             her.

 

                         BROWNING

             Let's go find out.

 

They get up to go.

 

EXT. NORTH PORTLAND NEIGHBORHOD - DAY

 

Browning's car is parked along the curb, several houses down

from the house in which Greg found Heather.

 

Another car approaches.


                                                           54.

 

 

INT. BROWNING'S CAR - DAY

 

Browning sees the approaching car.

 

                         BROWNING

             Here he is.

 

EXT. CAR - DAY

 

Greg and Browning get out as the other car parks across the

street.  Villanova gets out and crosses the street to them.

 

                         GREG

             It's that house there.

 

                         DETECTIVE VILLANOVA

             I thought you had a witness.

 

                         GREG

             He couldn't make it on such short

             notice.

 

                         BROWNING

             I assume he'll be available if

             there's an arrest.

 

                         GREG

             Of course.

 

They head toward the house.

 

EXT. HOUSE - FRONT PORCH - DAY

 

They go up onto the front porch.

 

                         DETECTIVE VILLANOVA

             You want to do the honors?

 

Greg nervously knocks on the door.  He knocks again. Finally,

an OLD BLACK MAN answers the door.

 

                         OLD BLACK MAN

             Yes, sir, can I help you?

 

                         GREG

             I want to see the girl who lives

             here.

 

                         OLD BLACK MAN

             Ain't nobody here but me, sir.

 

                         GREG

             She was here last night.  White,

             about fifteen or sixteen.


                                                           55.

 

 

                         OLD BLACK MAN

             Well, I sure would like company

             like that but I ain't had no

             company since my woman died over

             a year ago now, sir.

 

                         GREG

             I saw her right here!

 

                         DETECTIVE VILLANOVA

             You're the owner of the house, sir?

 

                         OLD BLACK MAN

             I sure is.

 

                         GREG

             I was here last night and--

 

                         DETECTIVE VILLANOVA

             You made your point.

 

                         GREG

             There's a conspiracy here,

             there's--

 

                         DETECTIVE VILLANOVA

             Why don't you two give me a minute?

 

                         BROWNING

             Come on, Greg.

 

Browning escorts Greg off the porch, as Villanova continues

to talk to the old man.  They head for the curb.

 

                         GREG

             Raymond can back me up, she was

             here, we were chased off by her

             boyfriend.  Whoever he was.  A

             black kid, maybe nineteen, built

             like a jock.  He drew a knife on

             us.

 

                         BROWNING

             Okay, okay, let Villanova do his

             job.

 

                         GREG

             I don't believe this.

 

They reach the car.  Greg leans against a fender.  He

glances around the neighborhood, finding more than one

curious black resident looking back at him.

 

Villanova returns.


                                                           56.

 

 

                         GREG

             Didn't you arrest him?

 

                         DETECTIVE VILLANOVA

             I'll want to talk to your witness.

 

                         GREG

             He's lying!

 

                         DETECTIVE VILLANOVA

             You said you were chased off last

             night?

 

                         GREG

             Yes.

 

                         DETECTIVE VILLANOVA

             I want to talk to the witness.

             Bring him to the station.

 

                         GREG

             Give me a break, man.

 

Villanova crosses the street to his car.  Greg looks

disgusted by the whole state of affairs.

 

EXT. RAYMOND'S APARTMENT - SWIMMING POOL - DAY

 

Raymond is in the pool, less interested in swimming than in

keeping an eye on the several young women in bikinis who are

sunning themselves.

 

Suddenly Greg appears at poolside.

 

                         GREG

             Get out and get dressed.

 

                         RAYMOND

             Pardon me?

 

                         GREG

             I need you to tell the police

             what you saw.

 

                         RAYMOND

             Greg, for God's sake, can't you--

 

                         GREG

             Will you just get dressed, please?

 

Raymond swims toward the edge of the pool to get out.


                                                           57.

 

 

INT. RAYMOND'S APARTMENT - KITCHEN - DAY

 

Raymond is still in his suit, a towel draped around his

shoulders.  He's making himself a drink.

 

                         GREG

             You saw exactly what I saw.

 

                         RAYMOND

             I can't swear it was the same

             girl, Greg.  Honestly, I just

             can't.  I don't remember seeing

             her at the play.

 

                         GREG

             I'm telling you, it was the same

             girl, goddamn it.

 

                         RAYMOND

             I can't go in there and lie under

             oath.

 

                         GREG

             Great.  What a buddy, right? Jesus.

 

Greg glares at him, then turns and bolts out of the room.

 

EXT. COURTHOUSE - DAY

 

The Portland courthouse is a large stone building downtown.

 

INT. COURTROOM - DAY

 

The courtroom is packed with observers for the pre-trial

hearing.

 

Christy and Raymond observe from the audience.  Also in the

audience are Trisha and her father, Mr. Morris.  Trisha

exchanges a nod of recognition with John, who is sitting a

few seats away.

 

The baliff prepares for the entrance of the judge.

 

                         BALIFF

             Everybody rise!

 

The audience rises as the JUDGE enters.

 

INT. COURTROOM - WITNESS STAND - DAY

 

Judi Swanson is on the witness stand, being examined by the

PROSECUTOR.  With bleached hair and too much makeup, Judi

looks like a hooker.


                                                           58.

 

 

                         PROSECUTOR

             On the day in question, you were

             supposed to pick up your daughter

             at school, is that right?

 

                         JUDI SWANSON

             Yes.

 

                         PROSECUTOR

             Did you have any special plans

             for the evening?

 

                         JUDI SWANSON

             Yes, my new boyfriend was coming

             to dinner.  I wanted him to meet

             Heather.

 

                         PROSECUTOR

             Did you go to school to pick up

             Heather?

 

                         JUDI SWANSON

             Yes.  I was about a block and a

             half from school when I saw her

             get into another car.

 

                         PROSECUTOR

             Then what happened?

 

                         JUDI SWANSON

             Well, I didn't know what was

             going on.  I tried to follow them

             but lost them at a stoplight.

 

                         PROSECUTOR

             When did you next see your

             daughter?

 

                         JUDI SWANSON

             Not for two days.

 

                         PROSECUTOR

             What did she tell you about her

             whereabouts during that time?

 

INT. COURTROOM - WITNESS STAND - DAY

 

Heather is on the stand.

 

                         HEATHER

             When he pulled over, I didn't

             know who he was.

                         (MORE)


                                                           59.

 

 

                         HEATHER (CONT'D)

             He smiled and said mother had

             sent him to pick me up. I asked

             if he was George - that's her new

             boyfriend - and he smiled again

             and said yes, so I got in.

 

                         PROSECUTOR

             Then what happened.

 

                         HEATHER

             As soon as we pulled off, he told

             me he'd kill me unless I did

             exactly what he said.

 

                         PROSECUTOR

             Where did he take you?

 

                         HEATHER

             To the coast.  To this house on

             the beach.

 

Heather can't keep back the tears.

 

                         PROSECUTOR

             I know this is difficult, Heather,

             but I have to ask you this: is

             the man who picked you up in the

             courtroom?

 

She points at Greg.

 

                         HEATHER

             There.

 

Greg turns to say something to his attorney.

 

INT. COURTROOM - WITNESS STAND - DAY

 

Browning is cross-examing Heather.

 

                         BROWNING

             Isn't it true that on the opening

             night of the play at the high

             school, you pretended to be his

             step-daughter, ex-step-daughter,

             from a previous marriage?

 

                         HEATHER

             No.

 

                         BROWNING

             That you, in fact, seduced him

             and not the other way around?


                                                           60.

 

 

The prosecutor rises to his feet to object.

 

                         PROSECUTOR

             Objection!  The girl is a minor,

             and she's not the one under

             investigation here.

 

                         JUDGE

             Sustained.

 

Browning and the prosecutor exchange glances.

 

On the witness stand, Heather starts crying.

 

                         HEATHER

             He raped me - over and over and

             over again.

 

This gets a considerable BUZZING reaction from the audience,

and the judge bangs with his gavel for order.

 

                         JUDGE

             Order, order!

 

INT. COURTROOM - AUDIENCE AREA - DAY

 

In the audience, Trisha is visibly upset by what she hears.

She gets the attention of John, who nods at her as if in

agreement with something.

 

EXT. OUTSIDE COURTROOM - PARK BLOCKS - DAY

 

There's a strip of grassy park across the street from the

courthouse, which runs through much of the downtown area.

 

Trisha, John and three of his buddies are watching as people

exit the courthouse.

 

                         TRISHA

             There they are.

 

Judi Swanson and Heather come down the courthouse steps.

 

                         TRISHA

             John, I'm really counting on you.

             This is very, very important.

 

                         JOHN

             I understand.

 

She kisses him on the cheek.

 

John nods to his buddies, and the foursome move off after

Judi and Heather.


                                                           61.

 

 

EXT. DOWNTOWN PORTLAND - SIDEWALK - DAY

 

Judi and Heather are walking to their car.

 

John and his buddies follow them.  One of the buddies

carries a boombox, which is playing pop music, giving the

group the appearance of some guys just out strolling on an

afternoon.

 

The women reach the car, parked at a meter along the street.

 

Suddenly John and his buddies race ahead to their car.

 

John immediately goes to the driver's window, which is

rolled up.  Judi sits behind the wheel.

 

At the same time, one of the buddies goes to a back tire and

starts letting the air out.

 

Another buddy continues racing down the street, to where

John's minivan is parked some distance away.

 

During all this, the third buddy turns up the volume of the

boombox.  Loud rock music blasts across the scene.

 

John leans down at the driver's window to talk to Judi.

 

                         JOHN

             Excuse me, lady, I think you have

             a problem.

 

He taps on the window.

 

Judi is startled by his sudden appearance.  John smiles.

 

                         JOHN

             Excuse me, ma'am!

 

She roles down her window.

 

                         JUDI SWANSON

             What do you want?

 

                         JOHN

             You have a flat.  Can I change it

             for you?

 

                         JUDI SWANSON

             A flat?

 

                         JOHN

             Right there.

 

He points at the back tire.


                                                           62.

 

 

                         JUDI SWANSON

             Shit.

 

Judi and Heather both get out of the car.  They walk back

and stare at the flat tire.

 

                         JOHN

             It won't take a minute.  I need

             to get the spare.

 

                         JUDI SWANSON

             Right.

 

She reaches in and gets the keys, handing them to John.  He

goes and opens up the trunk.

 

                         JOHN

             Be done in ten, fifteen minutes.

 

                         JUDI SWANSON

             I can't pay you.

 

                         JOHN

             That's all right.

 

                         JUDI SWANSON

             You want a coke or something?

 

                         JOHN

             That'd be great.  There's a deli

             around the corner.

 

                         JUDI SWANSON

             You got it.

 

She starts off.

 

                         HEATHER

             I'll come, too.

 

They move a short distance from the car.

 

                         JUDI SWANSON

             You'd better stay here, he has

             the keys to the car.

 

                         HEATHER

             Okay.

 

Judi continues to the deli alone.

 

Heather waits near the car, as John brings out the spare and

the jack.


                                                           63.

 

 

John's buddy has the wrench and starts taking off the flat

tire.  The other buddy watches, still playing loud music on

the boombox.

 

Suddenly the minivan careens around the corner, with the

other buddy behind the wheel.  Then the minivan slows down,

moviing cautiously toward Judi's car.

 

John sees the van coming.  He bends down at the tire, where

the buddy is removing the wheel, and speaks under his breath.

 

                         JOHN

             Here he comes.

 

John stands up and moves to Heather.  The buddy with the

boombox goes into the street and gestures to the minivan.

 

John moves next to Heather.  He puts a stiff finger in her

back.

 

                         JOHN

             What you feel is a pistol, okay?

             You're going to be very quiet and

             get in the van.

 

                         HEATHER

             The fuck I am.

 

She suddenly turns and knees John in the groin.  He bends

over in pain.

 

Heather immediately starts screaming and yelling.

 

                         HEATHER

             Police, police!

 

John doesn't know what the hell to do now.  The buddy with

the boombox makes a move to go, turning back to yell over

the music.

 

                         BUDDY

             Let's get the hell out of here!

 

As Heather still screams for the police, the two other

buddies jump into the minivan.

 

John runs up and is the last to get in.  The minivan peels

out, as various pedestrians gather around Heather.

 

One of the pedestrians writes down the license plate number

of the fleeing van.


                                                           64.

 

 

Judi comes around the corner.  Seeing the scene, she

immediately realizes something is wrong and starts running

to her daughter, dropping the beverages to the sidewalk,

cussing under her breath.

 

EXT. PORTLAND POLICE STATION - DAY

 

A few patrol cars are parked outside.

 

INT. POLICE STATION - RECEPTION AREA - DAY

 

John and his buddies have been arrested and are being

released to their parents.

 

Trisha is also there, being released to her father, who is

non-too-pleased at this state of affairs.  He signs a paper

and grabs her arm.

 

                         TRISHA

             Ow!

 

                         MR. MORRIS

             Don't you "ow" me, young lady.

 

He drags her out.

 

INT. CHRISTY'S APARTMENT - LIVING ROOM - NIGHT

 

Greg is on the divan, sipping a beer, as Christy paces back

and forth.  Both look very upset, making it clear that they

have been fighting.

 

                         CHRISTY

             I don't know what to say, Greg.

             If you lied to me once, you can

             lie to me again.

 

                         GREG

             It wasn't exactly a lie.

 

                         CHRISTY

             You told me you've never been

             married.  Not that I give a good

             goddamn.  It's just the fact that

             you lied to me.  Now it turns out

             you have a step-daughter.

 

                         GREG

             I never adopted her.

 

                         CHRISTY

             You lied to me, Greg.  It's the

             principle I'm talking about.


                                                           65.

 

 

The doorbell rings.

 

                         CHRISTY

             Christ.

 

She goes to the door.  It is Mr. Morris.

 

                         MR. MORRIS

             I'm sorry to bother you.  I'm

             looking for Gregory.

 

                         CHRISTY

             Come in.

 

Morris comes into the living room, and Greg stands up to

greet him.

 

                         GREG

             Mr. Morris.

 

                         MR. MORRIS

             Trisha was arrested today.

 

                         GREG

             My God.  What for?

 

                         MR. MORRIS

             Trying to save you.

 

                         GREG

             I don't understand.

 

                         MR. MORRIS

             This is not easy for me to say,

             especially in front of a lady.

 

                         CHRISTY

             I'll leave you two alone.

 

She moves out of the room.

 

                         GREG

             I think I know what you're going

             to say, Mr. Morris.  Trisha has a

             crush on me.

 

                         MR. MORRIS

             I pray that's all it is.

 

                         GREG

             Of course, that's all it is.  How

             on earth did she think she was

             going to save me?


                                                           66.

 

 

                         MR. MORRIS

             By kidnapping that girl.  Trisha

             is sure she's lying about you.

 

                         GREG

             Then bless her, because she's

             right.

 

                         MR. MORRIS

             I don't know what to think.  I

             only know I don't want my daughter

             getting arrested because of you.

 

                         GREG

             I'll talk to her.

 

                         MR. MORRIS

             No, I don't want you to go near

             her again.  That's why I'm here.

             I want you to promise me that

             you'll leave her alone.

 

                         GREG

             It's not unusual for a student to

             have a crush on a teacher, sir.

             I can't believe she tried

             something so stupid.  I think it

             would be helpful if I spoke to

             her myself.

 

                         MR. MORRIS

             Just keep out of her life.

             That's all I came here to say.

 

He turns and starts toward the door.

 

                         GREG

             She's a talented actress, Mr.

             Morris.  Don't force her to

             become something she doesn't want

             to be. She has no interest in

             advertising and public relations.

             She wants a career on the stage,

             and she's good enough to have one.

 

Morris walks out without responding to this.  Greg takes a

deep breath.

 

INT. CHRISTY'S HOUSE - BEDROOM - NIGHT

 

Greg and Christy are asleep when the bedside phone begins to

ring.


                                                           67.

 

 

Greg turns, wakes, and glances at the digital clock.  It is

only three in the morning.

 

Christy stirs.

 

                         CHRISTY

             What time is it?

 

                         GREG

             Three.

 

He answers the phone.

 

                         GREG

             Hello?

 

                         CONNIE (FILTERED)

             Meet me at the all-night Denny's

             in thirty minutes.

 

                         GREG

             Connie?

 

                         CONNIE (FILTERED)

             I won't wait for you if you're

             late.

 

She clicks off.

 

                         CHRISTY

             Who was it?

 

                         GREG

             I think it's blackmail time.

 

He gets up out of bed to dress.

 

EXT. DENNY'S RESTAURANT - PARKING LOT - NIGHT

 

Greg's VW van pulls into the lot.  He gets out and enters

the restaurant.

 

INT. RESTAURANT - NIGHT

 

Greg finds Connie sitting alone in a back booth.  He heads

for it.

 

INT. RESTAURANT - BACK BOOTH - NIGHT

 

Greg slides in across the table from Connie.  She immediately

slides a sheet of paper across the table to him.

 

                         CONNIE

             Read this.


                                                           68.

 

 

Greg picks up the paper and begins to read.

 

INSERT: THE SHEET OF PAPER

 

The typed message reads:

 

"The price of your innocence is one hundred thousand dollars

in cash.

 

You will bring it here at 4pm tomorrow.  You will come alone.

Don't try anything because charges won't be dropped until

the money is secured."

 

INT. RESTUARANT - BOOTH - NIGHT

 

Greg looks up after reading this.

 

                         GREG

             So that's it.

 

                         CONNIE

             That's it.

 

                         GREG

             I could show this to the police.

 

                         CONNIE

             Who would believe a child molester?

 

                         GREG

             I didn't touch that girl.

 

                         CONNIE

             I was referring to California.

             You left me for one of your

             students, remember?  You were

             convicted.

 

                         GREG

             I was not convicted.

 

                         CONNIE

             You settled out of court, same

             difference.  I'm sure the judge

             here would love to know about that.

 

Smiling at him, she takes back the sheet of paper and tears

it up into pieces, putting them into an ashtray.

 

She lights a match and burns the demand letter.

 

                         CONNIE

             Tomorrow at four.


                                                           69.

 

 

She gets up and goes.

 

Greg stares at the ashtray.  He reaches into an inside coat

pocket and takes out a portable tape recorder.  He rewinds

the tape a bit and turns it on.

 

The quality isn't good but he's recorded the blackmail

attempt.  He listens to the tape as the note still burns in

the ashtray.

 

                         GREG

             "So that's it."

 

                         CONNIE

             "That's it."

 

                         GREG

             "I could show this to the police."

 

                         CONNIE

             "Who would believe a child

             molester?"

 

EXT. POLICE STATION - ENTRANCE - DAY

 

Villanova climbs the steps to enter the building.

 

INT. POLICE STATION - RECEPTION AREA - DAY

 

Greg is half-asleep on a bench.  He looks like he's been

there for hours.

 

Villanova comes into the building, and the POLICEMAN at the

front desk gets his attention.

 

                         POLICEMAN

             Guy there's been waiting for you

             since around five this morning.

 

Villanova goes to the bench and looks down at Greg, who

stirs a bit.  He kicks Greg's foot and Greg starts, looking

up, squinting.

 

                         DETECTIVE VILLANOVA

             What's up?

 

INT. POLICE STATION - VILLANOVA'S OFFICE - DAY

 

Greg sits in a chair across the desk as Villanova listens to

the tape.  When it's done, the detective shuts off the

machine.

 

                         GREG

             That's all I got.


                                                           70.

 

 

                         DETECTIVE VILLANOVA

             I didn't hear anything about money.

 

                         GREG

             She was clever, all the details

             were written down.

 

                         DETECTIVE VILLANOVA

             Which was burned.

 

                         GREG

             Goddamn it, I'm innocent!  I'm

             being blackmailed here!

 

                         DETECTIVE VILLANOVA

             This alone won't do it in court.

 

                         GREG

             Have someone observe the exchange

             of money.

 

                         DETECTIVE VILLANOVA

             You can raise money like that?

 

                         GREG

             Yes.

 

Villanova raises his eyebrows, regarding him with renewed

interest, waiting as if wanting to hear more.

 

                         GREG

             Look, it's a long story.  My

             girlfriend has money.

 

                         DETECTIVE VILLANOVA

             Good for you.

 

                         GREG

             Are you going to help me or not?

 

                         DETECTIVE VILLANOVA

             Why don't you go home and get

             some sleep?  I'll call you around

             two.

 

                         GREG

             I'm innocent.

 

                         DETECTIVE VILLANOVA

             I'll be in touch.


                                                           71.

 

 

INT. CHRISTY'S HOUSE - KITCHEN - DAY

 

Christy is in her robe at the breakfast bar.  Greg pours

himself a cup of coffee.

 

                         CHRISTY

             That's a lot of money.

 

                         GREG

             The thing is, it won't be lost.

             The police will confiscate it as

             soon as she's arrested.

 

                         CHRISTY

             I don't think I can come up with

             that much cash on such short

             notice.

 

                         GREG

             Don't let me down, babe.

 

                         CHRISTY

             Why do I feel like I'm the one

             who was let down?

 

                         GREG

             Are you still angry about that?

             Goddamn it, the marriage stunk!

             I didn't tell you about it

             because I didn't want to talk

             about it.  It was a mistake.  As

             far as I'm concerned, it never

             happened.

 

                         CHRISTY

             I'm sorry, I just can't do it,

             Greg.  Somehow everything feels

             different about us.

 

                         GREG

             Nothing is different, goddamn it!

 

                         CHRISTY

             Isn't it?

 

He slams down his coffee cup and storms out of the kitchen.

 

INT. RAYMOND'S APARTMENT - LIVING ROOM - DAY

 

Raymond sits on the divan as Greg paces angrily.

 

                         RAYMOND

             That's a hell of a lot of money.


                                                           72.

 

 

                         GREG

             Tell me about it.

 

                         RAYMOND

             What are you going to do?

 

                         GREG

             I don't know.  I can't believe

             Christy won't help me.

 

                         RAYMOND

             It is short notice.

 

                         GREG

             I'm sure I could get Connie to

             wait a couple days.

 

                         RAYMOND

             Then why won't she help?  She'd

             get the money back.

 

                         GREG

             That's what I told her.  She's

             pissed because I was married and

             didn't tell her.

 

                         RAYMOND

             That's all it is?

 

                         GREG

             All I can figure.  She keeps

             saying I lied to her.

 

                         RAYMOND

             Did you tell the police what's

             coming down?

 

                         GREG

             Of course I told the police.

             They didn't seem all that

             interested. Well, anyway, if you

             get any bright ideas . . .

 

                         RAYMOND

             All you should have to do is

             prove she's trying to blackmail

             you.

 

                         GREG

             Villanova said the tape wouldn't

             hold up it court.  It doesn't

             really say anything about money

             or something.  I'm out of here.


                                                           73.

 

 

He heads for the door.

 

                         RAYMOND

             Hang in, Greg.  I have a feeling

             justice will win out.

 

                         GREG

             I don't.

 

He turns and goes.

 

INT. CHRISTY'S HOUSE - KITCHEN - DAY

 

Greg finishes a beer and looks at his watch.

 

He goes to the phone.  He dials and waits.

 

                         POLICEMAN (FILTERED)

             Central precinct.

 

                         GREG

             Detective Villanova, please.

 

                         POLICEMAN (FILTERED)

             He's not in at the moment.

 

                         GREG

             He has to be in.  He was supposed

             to call me at two.

 

                         POLICEMAN (FILTERED)

             I'm sorry, Detective Villanova is

             not in.  Can I help you?

 

                         GREG

             Then where the hell is he?

 

                         POLICEMAN (FILTERED)

             I don't have that information.

             Can I be of help to you, sir?

 

Greg slams down the receiver.

 

EXT. STREET OUTSIDE DENNY'S RESTAURANT - DAY

 

Greg's VW van is parked on the street across from the

restaurant.

 

INT. VAN - DAY

 

Greg is watching the entrance to the restaurant carefully.

He looks at his watch.


                                                           74.

 

 

EXT. THE STREET - DAY

 

Christy's BMW approaches and turns into the restaurant

parking lot.

 

Christy is driving and Connie sits in the passenger seat.

 

INT. VAN - DAY

 

Greg can't believe what he is seeing, his girlfriend and ex-

wife together.

 

EXT. RESTAURANT - PARKING LOT - DAY

 

The women have parked and get out together.  They go into

the restaurant.

 

EXT. STREET - VAN - DAY

 

Greg quickly gets out and crosses the street against the

traffic, causing a few cars to honk at him.  He enters the

restaurant.

 

INT. RESTAURANT - ENTRYWAY - DAY

 

Greg comes in, looking around.

 

He finds the women seated in a booth, sitting together on

the same side.  He approaches them.

 

INT. RESTAURANT - BOOTH - DAY

 

Greg slides into the booth across from the women.

 

                         GREG

             What the fuck is going on, man?

 

                         CHRISTY

             She called the house.  I cut you

             a different deal.

 

                         GREG

             Are you serious?

 

                         CONNIE

             You lost yourself a good woman,

             Greg.  I'd say not for the first

             time but it would sound like I'm

             bragging.

 

                         CHRISTY

             I cut a new deal for all of us.


                                                           75.

 

 

                         GREG

             So what's this new deal?

 

                         CONNIE

             She gave me fifty thousand.

 

                         GREG

             And you'll pull off the woman and

             girl?

 

                         CONNIE

             I've already given them their cut.

             I imagine they're out of Portland

             by now.

 

Greg reaches over the table to take Christy's hand but she

pulls it away.

 

                         CHRISTY

             I have conditions, too.  I want

             you out of my house.  Today,

             tomorrow at the latest.

 

                         GREG

             What?

 

                         CHRISTY

             She told me about what really

             happened in California.

 

                         GREG

             Her side.  Christy, for Christ's

             sake, she's a pathological liar,

             a blackmailer, she's a goddamn--

 

                         CHRISTY

             I mean it.  I did something for

             you, now it's your turn to do

             something for me.  Get out of my

             house.

 

Greg studies her and understands that she's serious.

 

                         GREG

             Okay.  But we'll talk about this

             later.

 

                         CHRISTY

             No, we won't.

 

                         GREG

             We'll see, okay?  We'll let it

             ride awhile.


                                                           76.

 

 

He gets up out of the booth.

 

                         GREG

             Connie, you're a goddamn liar.

 

                         CONNIE

             If I was, it wouldn't be half of

             what you are.

 

                         GREG

             I'll call you in a few days, babe.

 

Christy stares at him coldly.

 

                         CHRISTY

             I've always hated it when you say

             that.  I am no "babe."

 

                         GREG

             I can't believe you're taking her

             word over mine.

 

                         CHRISTY

             Get used to it.

 

Greg turns and leaves.

 

The women give one another a knowing look.

 

INT. CHRISTY'S HOUSE - LIVING ROOM - NIGHT

 

Greg comes in, staggering, a little drunk.

 

He passes by the answering machine in the room and sees that

the red light is blinking.   He bends down and pushes a

button to hear the message.

 

Trisha's voice comes over the answering machine.

 

                         TRISHA

             "Greg, my parents are out of town

             for a few days.  I rented a room

             at the Shangra-la Motel.  Room

             Twenty-Four.  I hope you'll come

             by tonight.  I just need to talk

             to you, where nobody will see us.

             Please remember that I'm the one

             who believes in you.  I thought

             if I could talk to that girl

             myself, maybe I could get her to

             tell the truth.  I guess it was a

             pretty dumb thing to try, right?

                         (MORE)


                                                           77.

 

 

                         TRISHA (CONT'D)

             I only did it because I believe

             in you. I'll always believe in

             you.  If you can't come, please

             give me a call. I've never lost

             faith in you, Greg. In your heart

             you know that."

 

Greg turns off the machine.  He thinks a minute, then heads

out of the house.

 

EXT. NORTH PORTLAND - MAIN DRAG - NIGHT

 

Greg drives along the main drag.

 

As before, PROSTITUTES linger at almost every street corner,

often making clear and even obscene gestures to passing

motorists.

 

INT. VAN - NIGHT

 

Greg searches for the Shangra-la Motel.  He looks

apprehensive.

 

EXT. STREET - NIGHT

 

Finally Greg's VW van approaches the gaudy neon lights of

the Shangra-la Motel.

 

He pulls into the parking lot.

 

EXT. MOTEL - PARKING LOT - NIGHT

 

Greg swerves into a space and parks.  He gets out.

 

In a nearby parked car, loud music blares out over the radio

as several black men openly pass around a pint bottle.

 

Greg moves off, looking for room twenty-four, discovering

that it is upstairs.  He heads for the stairs.

 

EXT. STAIRWAY - NIGHT

 

Greg climbs the stairs.

 

More loud music is coming from one of the rooms up above.

Greg reaches the upper balcony and moves along the railing.

 

He passes a series of doors - room 21, room 22, room 23 and

finally room 24.


                                                           78.

 

 

EXT. UPPER BALCONY - NIGHT

 

He knocks, and in a moment Trisha's voice comes through the

door.

 

                         TRISHA (O.C.)

             Who is it?

 

                         GREG

             It's me.

 

INT. MOTEL ROOM - NIGHT

 

Trisha opens the door.  She's wearing jeans and a cotton

sweatshirt.

 

Greg hurries in, closing and locking the door behind him.

 

                         GREG

             Have you lost your mind, renting

             a room in a neighborhood like

             this? Do you know how dangerous

             it is out there?

 

                         TRISHA

             I wanted to be sure no one would

             know us.

 

                         GREG

             You're lucky you weren't raped.

 

Trisha moves toward the bed, sulking.  She sits down on it.

 

                         TRISHA

             I was hoping you'd be glad to see

             me.

 

                         GREG

             I'm just trying to tell you that

             you did a very foolish thing

             coming here.

 

                         TRISHA

             Would you have rather come over

             to my house?

 

                         GREG

             No.

 

Greg looks around the room.  It's an old fifties motel that

has not been kept up and now it's definitely on the sleezy

side.


                                                           79.

 

 

He notices a bottle of gin and an ice bucket on the desk

table.

 

                         GREG

             You've been drinking?

 

                         TRISHA

             No, I haven't been drinking.  I

             thought you might like a martini

             or something.

 

                         GREG

             Sure, then.

 

Greg takes a stuffed chair in the room as Trisha moves to

mix a drink.

 

                         GREG

             You're really something, aren't

             you?  Trying to kidnap that girl.

             Jesus, Trish.  And I know you're

             the only girl at Wilson with the

             balls to rent a motel in North

             Portland.  Definitely one of a

             kind.

 

                         TRISHA

             I just wanted to be discrete.

 

                         GREG

             What did the desk clerk say?  He

             must have thought you were a

             hooker.

 

She brings Greg his martini on the rocks, mixed in a plastic

cup.

 

                         TRISHA

             He said, that will be thirty-two

             dollars, please.

 

                         GREG

             They get that much for this dive?

             Highway robbery.

 

Greg accepts the drink and sips.

 

Trisha stays close to him.

 

                         GREG

             You do make a good martini.

 

                         TRISHA

             I didn't think you'd remember.


                                                           80.

 

 

                         GREG

             Of course, I remember.

 

                         TRISHA

             It's not the only thing you used

             to like about me.

 

                         GREG

             You're really something, aren't

             you?

 

                         TRISHA

             I don't know, am I?

 

                         GREG

             You are, indeed.

 

                         TRISHA

             Then why don't I feel like I am?

 

Greg studies her.  He puts down the plastic cup and stands up.

 

Suddenly they embrace and kiss with increasing passion.

 

The moment should be shocking, with the realization that

clearly they have been lovers before.

 

They continue to embrace with reawakened passion.  Greg

starts to move her to the bed, pulling off her cotton

sweatshirt.

 

On the bed, he unfastens her jeans and pulls them off,

leaving Trisha in her bikini underwear.  Then he starts

undressing himself.

 

                         GREG

             I've missed you, babe.

 

                         TRISHA

             Please don't say anything.

 

                         GREG

             You're the only one who believes

             in me.  I was an idiot not to see

             that.

 

Greg is nude, Trisha in her underwear, and he moves on top

of her on the bed.  They embrace and kiss.

 

Suddenly the motel door BURSTS open.

 

Coming in first is Detective Villanova, followed by two

other POLICEMEN.


                                                           81.

 

 

Coming in behind them are Connie and Christy.

 

                         DETECTIVE VILLANOVA

             That's far enough, Greg.

 

Greg gets up off the bed, grabbing for his pants and trying

to step into them, caught dead in his tracks but still

trying to come up with a bluff.

 

Trisha also moves quickly off the bed, hurrying to the

supportive embraces of Christy and Connie.

 

A policeman starts reading Greg his rights.

 

                         GREG

             This isn't what you think, man.

             This is . . .

 

                         DETECTIVE VILLANOVA

             What, asshole?  What the fuck is

             it then?

 

INT. POLICE STATION - CONFERENCE ROOM - NIGHT

 

Trisha is reading the typed copy of her official complaint.

Sitting on each side of her are Christy and Connie.

 

Villanova sits across from the women at the large table.

Trisha signs the complaint, giving it to him.

 

                         DETECTIVE VILLANOVA

             That ought to do it.

 

                         CHRISTY

             Are we free to go then?

 

                         DETECTIVE VILLANOVA

             Yes, ma'am.

 

He touches Trisha's arm.

 

                         DETECTIVE VILLANOVA

             How are you doing?

 

                         TRISHA

             Okay.  Can I see him?

 

                         CHRISTY

             You don't want to see him.

 

                         TRISHA

             I have to tell him something.


                                                           82.

 

 

                         CONNIE

             Then we'll come with you.

 

                         DETECTIVE VILLANOVA

             All three of you isn't exactly

             protocol.

 

                         TRISHA

             I have to tell him how I feel.

             It's important that he hear it

             from me.

 

                         DETECTIVE VILLANOVA

             Well, I can't let you all in the

             cell together.

 

                         TRISHA

             I don't want to be in the cell.

             I just need to tell him something.

 

                         DETECTIVE VILLANOVA

             Five minutes, how's that?

 

                         TRISHA

             I don't need five minutes.

 

Villanova gets up and goes to the door to beckon a policeman

to escort her.

 

                         DETECTIVE VILLANOVA

             I'll get you an escort.

 

                         CHRISTY

             Are you sure you want to do this?

 

                         TRISHA

             Yes.

 

OFFICER JAMES moves into the doorway to the room.

 

                         DETECTIVE VILLANOVA

             Officer James will take you to

             see him.

 

Trisha gets up.

 

                         TRISHA

             Thank you.

 

She leaves with the officer.

 

                         DETECTIVE VILLANOVA

             She comes from tough stock.


                                                           83.

 

 

                         CHRISTY

             Yes, she does.

 

                         DETECTIVE VILLANOVA

             You two can go.

 

                         CHRISTY

             We'll wait for her.

 

                         CONNIE

             Will I have to testify?

 

                         DETECTIVE VILLANOVA

             Too early to say.  If he gets a

             good attorney, they may try to

             prove entrapment.

 

                         CHRISTY

             He was having an affair with that

             girl for months!

 

                         DETECTIVE VILLANOVA

             I know, I know.  And she's the

             best witness we have.  But the

             way all of you got together on

             this, a good lawyer will yell

             entrapment.

 

                         CHRISTY

             When the girl came to me, what

             was I supposed to do?  The poor

             child thought she was in love

             with him. She saw me as a rival.

 

                         DETECTIVE VILLANOVA

             One question.  Whose idea was all

             this anyway?

 

                         CHRISTY

             She wanted revenge.  She wanted

             revenge the way Medea got revenge.

 

INT. HALLWAY - CELL AREA - NIGHT

 

Trisha and Officer James approach Greg's cell.

 

INT. CELL - NIGHT

 

Greg hears footsteps and goes to the bars to see who it is.

 

Trisha moves close to the bars to speak to him.

 

                         GREG

             Hello, Trish.


                                                           84.

 

 

Trisha gives the speech below with great concentration,

clearly close to losing it, to breaking down, but determined

to say what she has to say.

 

She gives her speech as Medea in the play.

 

                         TRISHA

             "No, it was not to be for you to

             scorn my love and live happily

             ever after, laughing at me."

 

This is enough.  With tears in her eyes, Trisha turns and

moves away.  Greg calls after her.

 

                         GREG

             Trish, you know it wasn't like

             that.  We have to talk about this.

             Don't believe everything you

             hear, Trish!  I love you, you

             know I love you!  I wanted to

             marry you! Trisha!

 

INT. HALLWAY - CELL AREA - NIGHT

 

Trisha makes the long walk to get out of there, passing

barred cells on each side of her.   She is still holding up

admirably.

 

INT. WAITING AREA - NIGHT

 

Trisha comes through a door to leave the cell area, into a

waiting area where Christy and Connie meet her.

 

The older women rush to comfort her.  At last Trisha breaks

down into tears.

 

                         CHRISTY

             It's okay, the worst is over now.

 

                         CONNIE

             He can't hurt you again.

 

                         TRISHA

             I loved him . . . I love him so

             much . . .

 

                         CHRISTY

             The worst is over now . . .

 

The women move to leave the building, arms around one

another, Trisha protectively in the middle.

 

They slowly move away and into a new future without Greg.

 

                                            FADE OUT.